Re-cut the Motion films in landscape, and hold the camera still

THE FORMAT. The first pair were vertical. That was wrong for this product: PIG
is a desktop application, and reframing it 9:16 either shrinks it past reading
or crops away the sidebar and half the table. These are 1920x1080, like the five
already on the page, and the app is filmed at a real 1920 desktop viewport —
the previous renderer set the viewport to 960 and captured at 2x, which produced
a 1920px image of the COLLAPSED layout, because the viewport is what the product
responds to and the scale factor is only how much detail there is to zoom into.

THE CAMERA. It now holds still, and eases in on the thing the narration is
naming, holds, and eases back out — the way Cap zooms toward a click. The first
cut drifted a slow zoom across every shot, which reads as restless rather than
as emphasis and is the thing people mean when they call a screen recording
annoying. Six of fourteen shots move in the customer film; the rest are locked
off. The curve is a smoothstep either side of a hold, written as a function of
the frame number rather than accumulated through zoompan's own `zoom` variable,
which refers to the previous frame and drifts off its endpoints.

Zoom targets are chosen as the SMALLEST element already in frame, not the last
match in document order. That was wrong in a way only a long page shows: the
Halcyon engagement prints the same phrases twice — once in the score note and
again inside the artefact bodies below — so "kappa 0.54" resolved to a paragraph
two and a half thousand pixels below the fold that no amount of scrolling would
reveal, because an ancestor clips it. Preferring what is on screen keeps the
zoom inside the frame the shot chose; preferring the smallest match makes naming
a figure land on the figure rather than on the card around it.

THE SCRIPTS were rewritten from nothing through a judge panel — three
independent angles each, scored on hook, concreteness, ear, tension and ending,
then synthesised and adversarially checked against the running product.

The second film is the one that was asked for: one customer, end to end. Halcyon
Research, scored 52.8 and scope down on the day of first discovery because
nothing had been measured, through legal and scoping and a budget path, to 82.8
and build once the verifier, the baseline and the environment landed — and the
two dimensions that fell inside that same twenty-five point rise. It closes on
the week-two dev split reading under its trajectory, because the honest thing
about that record is that the gate might not be met and it says so before anyone
asks. It runs 68 seconds; a feature tour is 30 and a story is not.

packages/db/src/seed/demo/learn.ts

@@ -149,30 +149,35 @@ export const HOSTED_LEARN_MANIFEST: readonly HostedLearnEntry[] = [
     sortOrder: 5,
   },
   /*
-   * Six and seven are the first vertical (9:16) films in the set. The five
-   * above are landscape captures of the desktop app; these are cut for a phone,
-   * because the way this material actually gets watched is somebody opening the
-   * link on the way to a meeting. `scripts/learn-film.mjs` renders them and is
-   * the pipeline the first five never had.
+   * Six and seven are landscape, like the five above, and cut by
+   * `scripts/learn-film.mjs`. A vertical pair was tried first and rejected:
+   * the product is a desktop application, and reframing it 9:16 either shrinks
+   * it past reading or crops away the sidebar and half the table. The camera
+   * holds still and eases in on the figure being named, rather than drifting
+   * across every shot, which is what made the first cut tiring to watch.
+   *
+   * Seven is longer than the rest on purpose — it walks one customer from the
+   * first discovery to a kill gate that may not be met, and that is a story
+   * rather than a feature tour.
    */
   {
     slug: 'motion-the-repeatable-motion',
-    title: 'Motion: the repeatable go-to-market',
+    title: 'Motion: the part of a deal PIG never knew',
     summary:
-      'A tour of Motion — the library of what we know how to do, bound to the stages of a real deal, getting better every time we run it.',
+      'PIG knew every deal we closed. It never knew how we closed it. The library of what we know how to do, bound to the stages of a real deal.',
     track: 'platform',
     visibility: 'code',
-    durationSeconds: 32,
+    durationSeconds: 47,
     sortOrder: 6,
   },
   {
-    slug: 'the-sales-motion',
-    title: 'How a deal moves through Motion',
+    slug: 'one-customer-end-to-end',
+    title: 'Halcyon Research, and a gate it might miss',
     summary:
-      "The practitioner's path: open an engagement on a live deal, score it, pull the template for your stage, fill it with the customer's facts, and watch the score move both ways.",
+      'One customer end to end: scored 52.8 and scope down on discovery day, 82.8 and build once measurement landed, and two dimensions that fell on the way up.',
     track: 'platform',
     visibility: 'code',
-    durationSeconds: 34,
+    durationSeconds: 68,
     sortOrder: 7,
   },
 ];